A Quote by Jenny Packham
It's very nerve-wracking dressing someone because you obviously do everything you can to get them to be interested in something you've done, and then you hear they're wearing it, and then, obviously, they're going to step out in it, and you want to know that it's all going to work and what everybody's going to say about it.
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It's obviously nerve-wracking, because I don't know the ropes really, William is obviously used to it, but I'm willing to learn quickly and work hard.
I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It's because I'm a control freak, so I want to know that everything is sorted and what's going to come out the other end, obviously with a bit of leeway.
I want to reach out to everybody with my music and my album, but you're never going to please everybody. Someone's going to say something because, you know, it's an opinionated industry.
With a novel, you have the reader with you a lot longer, and you owe him a lot more. Obviously you have to have a plot - I say "obviously," although I think a lot of fiction doesn't, and nothing seems to happen. But to me, there should be something that happens, and it should be at least vaguely plausible. And because the readers are going to be with these characters for a long time, you have to get to know them and like them and want to know what happens to them.
I'll tell you how you know when you're on something good: when everybody starts to tear up when they're leaving, when they're wrapping for the season. You know, when you say, "All right, we're done with McGillicuddy. That's a wrap for McGillicuddy!" And everybody applauds, but everybody's sad, because McGillicuddy's going to be gone! You know, it's like family going off to college or war. You have this intimate relationship with these people, and then - bam! - they're gone.
You write a screenplay and then everybody is going to want to get in on it and we have to figure that out. I've written three screenplays that are at studios and I still haven't been making them yet so there is always something that is either going to trip something up or maybe get another pass.
The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.
Fundamentally, as human beings, we're very, very alike and a lot more alike than we think, but we have a tendency to divide the world into them and us. In prison, when people commit a crime and we put them away, they definitely become "them." We don't want to deal with it because they have chosen to step out of society, so we're going to keep them out. Even if they serve their time, we're going to make sure that, for the rest of their lives, they're going to be branded. I don't know how to do it in a different way, but I think it clearly doesn't work.
If I'm thinking about a particular injury, then I'm already a step behind. If I'm so gun shy in the pocket and not worried about the receivers that are open down field, something's going to happen that's not going to get the job done. So my main focus is having confidence in myself knowing that I'm able to be myself when I'm out there.
Get yourself out. Be brave. Don't leave before you're ready, because you should know that you tried everything. So there's a conviction and a confidence when you step away from something that may or may not be conducive to your life. I think if you run away too quickly, you're going to have that "Oh God, did I try everything?" feeling. Try everything. Make it work. Do everything you can. If it's not working, then know when the signal is and move on. Change. Try something different.
I'm self-critical but also, I'm not a very modest person. I'm self-critical in the lead-up to showing anyone anything. You know how people say they write, like, 30 songs and then they'll pick the ones they're going to put on the record? I don't ever get to that point because I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn't happy with. But then once I've made it, I'm also not going to turn around and go, "Oh, yeah, I don't know..." If I'm putting it out, anything creative that I do, I think that it's good, otherwise I wouldn't put it out.
When I get to 40, I'm going to re-evaluate everything and then go from there. Because when I get to 40, I would like to see where I'm at in my career because I might want to go, 'You know what, I'm done. I'm just happy with everything,' and I'm going to go off my merry way, and I'll probably never pick up a golf club ever again.
For me there's insecurity when you're releasing an album because you spend all of this time working on that one thing and then once it's done, it's done. After you put it out there to the public you never know which songs are going to work or even if the album is going to work as a whole so there is a little bit of nervousness around predicting what the numbers will be and if it's going to be well-received.
They're going to come to me and they're going to say numbers for three years and I'm going to use my division and if it sounds good when I hear it, then I'll take it. But I'm not going to say I'll take less (than the max) . . . Put it this way. I won't take a BMW from somebody when I know I can get a Maybach from somewhere else.
Obviously if my path is with Tottenham then I'm very happy, I'm going to fight and do all that I can to help them. If it's not then, whatever team I am with, I am going to fight to help them, that's how my mind has always been.
If you say, 'I'm going to cut this song because I know the teenagers are going to love it,' well, then you're going to alienate everybody else. When I cut my record, I'm just going to cut the things that I like, and whoever likes it, likes it. That's too much work to try to figure out the demographic. That's too much like a business.
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